French's International Copyrighted (In England, 

her Colonies, and the United States) Edition 

of the Works of the Best Authors. 



No. 587 



BOMBITO 

A PLAY IN ONE ACT 



BY 

CLARENCE STRATTON 

Copyright, 1918, by Clarence Stratton 
Copyright, 1927, by Samuel French 



All Rights Reserved 

CAUTION: Professionals and amateurs -are 
hereby warned that "BOMBITO," being 
fully protected under the copyright laws of 
the United States of America, the British 
Empire, including the Dominion of Canada, 
and the other countries of the Copyright 
Union, is subject to a royalty, and anyone 
presenting the play without the consent of 
the owner or his authorized agents will be 
liable to the penalties by law provided. 
Applications for the acting rights must be 
made to SAMUEL FRENCH, 25 West 45th 
Street, New York, N. Y. 



PRICE 30 CENTS 



NEW YORK 

Samuel French 

publisher 

25 west 45th street 



LONDON 

Samuel French, Ltd. 
26 southampton st. 

STRAND 



•■■ Mill 



IIIMIIMMMIIIIMMIIIIIIIMIIIIIIIIIIIII 

11111111 mi mi in inn 



ARE YOU A MASON? 

Farce in 3 acts. By Leo Ditrichstein. 7 males, 1 £e<: 
Males. Modern costumes. Plays 2% hours. 1 interior. 

"Are You a Mason?" is one of those delightful farces like 
"Charley's Aunt" that are always fresh. "A mother and • 
daughter," says the critic of the New York Herald, "had hus^ 
hands who account for absences from the joint household on. 
frequent evenings, falsely pretending to be Masons. The men 
do not know t^ch other's duplicity, and each tells his wife of 
having advanced to leadership in his lodge. The older woman 
was so well pleased with her husband's supposed distinction ir 
♦he order that she made him promise to put up the name of e 
visiting friend for membership. Further perplexity over the 
principal liar arose when a suitor for his second daughter's hand, 
proved to be a real Mason. ... To tell the story of the play 
would require volumes, its complications are so numerous. It if 
a house of cards. One card wrongly placed and the whole thing 
would collapse. But it stands, an example of remarkable in- 
genuity. You wonder at the end of the first act how the fun 
can be kept up on such a slender foundation. But it continues 
and grows to the last curtain." One of the most hilariously 
amusing farces ever written, especially suited to schools and 
Masonic Lodges. (Royalty, twenty-five dollars.) Price, 7& Oentft, 



KEMPY 

A delightful comedy in 3 acts. By o*. C. Nugent an& 
Elliott Nugent. 4 males, 4 females. 1 interior throughout, 
Costumes, modern. Plays 2^ hours. 

No wonder "Kempy" has been such a tremendous hit in New 
tfork, Chicago — wherever it has played. It snaps with wit and 
numor of the most delightful kind. It's electric. It's small 
town folk perfectly pictured. Full of types of varied sorts, each 
one done to a turn and served with zestful sauce. An ideal 
entertainment for amusement purposes. The story is about a high- 
falutin' daughter who in a fit of pique marries the young plumber^ 
architect, who come* to fix the water pipes, just because ha 
"understands" hep caving read her book and having sworn t» 
marry the authoress. But in that story lies all the humor that 
kept the audience laughing every second of every act. Of course 
there are lots of ramifications, each of which bears its own brand 
of laughter-making potentials. But the plot and the story are 
not the main things. There is, for instance, the work of the 
company. The fun growing out of this family mixup is lively and 
clean. (Royalty, twenty-five dollars.) Price, 75 Cent*. 

SAMUEL FRENCH, 25 West 45th Street, New York City 
Our New Catalogue Will Be Sent on Receipt of Flvs 



BOMBITO 

A PLAY IN ONE ACT 



BY 
CLARENCE STRATTON 



Copyright, 1918, by Clarence Stratton 
Copyright, 1927, by Samuel French 



All Rights Reserved 

CAUTION: — Professionals and amateurs are hereby warned 
that "BOMBITO," being fully protected under the copy- 
right laws of the United States of America, the British 
Empire, including the Dominion of Canada, and the other 
countries of the Copyright Union, is subject to a royalty, 
and anyone presenting the play without the consent of the 
owner or his authorized agents will be liable to the penal- 
ties by law provided. Applications for the acting rights 
must be made to Samuel French, 25 West 45th Street, 
New York, N. Y. 



New York 

SAMUEL FRENCH 

Publisher 

25 West 45th Street 



London 
SAMUEL FRENCH, Ltd. 
26 Southampton" Street 

STRAND 






ALL RIGHTS RESERVED 

" BOMBITO " is fully protected under the copyright 
laws of the United States of America, the British Em- 
pire, including the Dominion of Canada, and all 
countries subscribing to the Berne Convention, and 
all rights reserved. 

In its present form this play is dedicated to the read- 
ing public only, and no performance, representation, 
production, recitation, public reading or radio broad- 
casting may be given except by special arrangement 
with Samuel French, 25 West 45th Street, New 
York, N. Y. 

It may be presented by amateurs upon payment of a 
royalty of Five Dollars for each performance, payable 
to Samuel French one week before the date when 
the play is given. 

Professional royalty quoted on application to SAMUEL 
French, 25 West 45th Street, New York, N. Y. 

Whenever the play is produced the following notice 
must appear on all programs, printing and advertising 
for the play : " Produced by special arrangement with 
Samuel French of New York." 



TMP<56-0C6647 



^28'27 ® clD 791 



43 



CHARACTERS 

Senor Felipe y Benlieure, manager of bull ring. 
Enrique, a picador. 
Bombito, a matador. 
Dona Isabella, his wife. 
Marianella, their daughter. 



BOMBITO 



Scene: When the' curtain rises it discloses the 
quarters of the matador's family, a bare room 
built beneath the sloping tiers of the bull ring. 
At the rear the ceiling slopes down toward the 
single door, which is at the top of a couple of 
steps. Outside this door a passage conducts 
to the arena itself. In the wall toward the 
spectators would be two large windows through 
zvhich a yellow light would pour to tone up 
the apartment. The plastered walls are smoke 
marked. Artistically inclined bull fighters have 
tried to decorate their surfaces with sketches 
of bulls, flying capes, heads of matadors, 
pointed banderillas, swords, short ugly knives. 
A couple of posters announce bull fights. 
From a few pegs hang old clothes, frayed 
capes, several squares of red cloth. A shake- 
dozvn bed is upon the floor in one corner. An- 
other protrudes from behind a screen at the 
other rear corner. A couple of wicker baskets 
have clothes dragging over their sides. A 
dilapidated old table bears two or three long 
straight swords. Two rickety chairs and sev- 
eral stools complete the furnishings. 

In spite of the squalid quarters the scene is bright. 
The two women are brightly dressed. Old 
brown-skinned Enrique is gorgeous in red 
handkerchief bound round his head, and bril- 
liant yellow costume. Later Bombito comes in 
from the ring in full matador splendor, with 
which his worn face contrasts markedly. 



6 BOMBITO 

(Enrique is sitting upon a stool facing the audi- 
ence deliberately rolling a cigarette. Dona 
Isabella is standing in the center of the room 
anxiously watching the doorway in which 
Marianella stands straining her ears toward 
the silence of the arena. There is a tense pause. 
Suddenly Enrique strikes a match under his 
stool. The spurt sounds like crashing lightning. 
Both women start apprehensively. Dona Isa- 
bella motions him to he silent.) 

Isabella. Hush-h-h-h ! 

Marianella. {Drawing a deep breath) 
Ah-h-h-h ! 

Enrique. What's the use of listening? 

Isab. Hush ! We must hear ! 

Enr. What you don't hear won't hurt you. 
Silence is the best noise in the bull ring. 

Mar. {Straining more tensely) Perhaps Father 
will — make one good stroke. 

Enr. Yes ; a miracle may happen at any time — 
by accident. {A tense pause.) 

Mar. {Covering her ears) Oh! 

Isab. What is it? 

Mar. {Coming down into the room) He must 
have struck 

Enr. And missed again ! 

Mar. They shouted " Butcher." 

Isab. Poor fellow! 

Enr. {]l T ho has risen, seating himself slowly) 
No, decidedly, this is not the day for miracles. 

{In the distance sounds the Toreador music from 
" Carmen.") 

Isab. He's done it now ! 

Enr. {Shaking his head and holding his fingers) 
It was too quick. See, I counted only five. No 



BOMBITO 7 

bull will put his two feet square in that time. It 
cannot be expected. Bombito should not hurry the 
bull. He should help him to deliberate end. A 
bull fight is a serious ceremony. It's not a dance, 
or a wrestling match. Soberly, and gently is the 
way to kill, I say. 

(Bombito appears 'wearily in the doorway. He 
carries in his left hand a dark red piece of 
cloth, in his right his long straight sword. He 
stops for just an instant, then steps down into 
the room, moves to the table, where he de- 
posits his hat and sword. Then he sweeps a 
challenging glance around.) 

Bomb. Well, why don't you say something? 

(Enrique comically shrugs his shoulders, and 
spreads out his hands. Marianella moves 
quietly toward the corner where the bed is.) 

Isab. (Timidly) How did that one go? (Then 
she realizes she ought to knozu.) It wasn't verj 
good 

Bomb. Good ? Not by a thousand saints ! What 
luck! 

Isab. Just how was it this time? 

Bomb. Why, didn't you see ? But of course, you 
don't watch me any more. To you they're all the 
same. Bad strokes ! And that means failure ! Oh, 
yes, I know ! 

Enr. If you could have played the bull until 
you had all this feeling ready to come out in the 
ring, you could have lunged right now, and pierced 
the circle. 

Bomb. Wait until now ! With .all those thou- 
sands of eyes watching me? All those heads won- 



8 BOMBITO 

dering what I was going to do? Why, if they had 
begun to hiss me — I couldn't have done a thing. 

Enr. Didn't you hear 'em hiss? We did, in 
here. 

(Isabella moves to stop him, but he has finished.) 

Bomb. Wait? There he was; after the first 
thrust when he tossed my sword half across the 
arena, he just stood in the same place, I didn't even 
have to make him move a step. Both forefeet on 
a straight line, head down, all I had to do was to 
meet him as he plunged. 

Enr. But did you? 

Bomb. Sure as Easter. But as he charged he 
twisted to the right, and before I could stop or 
change — I'd only spoiled the sport. 

Enr. Then what did the crowd yell? 

Bomb. {Bitterly) Butcher. 

Enr. (Casually) It's a pity you're not a butcher. 

(Start of keen astonishment from the three others.) 

Isab. What do you mean, Enrique? 

Enr. (Calmly) A butcher would know whether 
the weight was more on one foot than on another, 
and not depend on straight feet only. 

Bomb. Yes, I've been told that, too. 

Enr. Are you sure you know even a straight 
line? When you were a railroad switchman your 
whole day was spent in sending trains off the main 
line straight track. 

Bomb. You're back at that, are you? 

Enr. Well, it's my opinion, if you want it, that 
switching in a junction railroad yard's not a first- 
class training for the delicate and refined science of 
killing noble animals on Sunday afternoons. 

Felipe. (Calls off stage, as he approaches door) 



BOMBITO 9 

Bombito ! Where is he ? (He appears in the door- 
way. He is boiling over with anger.) So, Bombito ! 
You call yourself a matador. After that exhibi- 
tion ! That was rotten — rotten ! (He chokes for 
words.) 

Enr. (Drawlingly) Practice on him, Bombito, 
he's madder than any bull he ever sends into his 
fifth-rate ring. 

Fel. (Sputtering, shaking his fist) You keep 
out of it! 

Enr. (Quietly) Your ring? You bet your 
mother's picture I will, until you pay me my price. 

Bomb. Felipe, you came to talk to me, I sup- 
pose. 

Fel. How can I advertise you for my arena 
next Sunday after that mess you just made? How 
can I, I ask you ? And I counted on a big crowd ; 
— first coro of the spring, new paint, new decora- 
tions ; and Villaf eliche's price has gone up over 
winter. Why, I shall lose money on the day. 

Enr. Good matadors live on real money, Felipe. 

Bomb. Well, just what do you mean? Why all 
this to me? 

Fel. Because I came to tell you that I can't 
afford to risk anything next Sunday. You got a 
chance with me, but by all the Holy Saints, no 
court in Spain can make a manager dispense charity. 

Enr. You're right. Not you. 

Bomb. You mean 

Fel. Yes, I do. I'll tear up the contract. 

Isab. Oh, Bombito ! 

Fel. You have one more chance. Show your- 
self a real matador with your other bull today, and 
things will stand. Give us another exhibition like 
the last one; — and zip! goes the contract. (Bom- 
bito moves as though to answer, then turns aside 
and sits down dejectedly. Rattling on.) You ought 
to do better. We all think it is in you. But you 



io BOMBITO 

won't let it come out. You don't lack the nerve, 
do you? (Bombito shakes his head negatively.) 
Of course not. Yet look at young Villafeliche out 
there now. He hasn't had nearly as much experi- 
ence as you. But he has the makings. Why, al- 
ready he's raised his price. 

Enr. Yes. He won't make more than one ap- 
pearance under your terms. 

Fel. You and he have been engaged a lot to- 
gether, but don't you realize that unless you get 
better, his price will go on up and yours will drop? 
It's bound to happen that way. 

Enr. Oh, never doubt what Senor Felipe y 
Benlieure says. He knows all about the noble art — 
from the money side. 

Fel. He's in the arena now. (Enrique goes 
out quietly.) Why don't you watch him to get a 
few hints? Come on, man, for the sake of next 
Sunday. 

Isab. Come, let's go look over the barrier. (She 
touches Bombito's shoulder. He picks up his hat 
mechanically and follows her out.) 

Fel. Marianella ! 

Mar. (Darting to him) Felipe! 

Fel. Care for me still ? 

Mar. You know how I love you ! 

Fel. (taking her in his arms) And I'm mad 
about you. (She snuggles a little closer.) Happy? 

Mar. (Murmuring) Uh-um ! (Pause.) Al- 
most. 

Fel. (Astounded) Almost? Why, what's the 
matter? 

Mar. (Brightly) When are we going to be 
married? 

Fel. (Hesitating) Why — soon — sometime 

Mar. (Insisting) No, that's not sure. When? 
(Like a child.) Tell me, tell me, tell me! 

Fel. (Stepping back) If you insist, I shall have 



BOMBITO ii 

to hurt you, my dear, much as I hate to. Your 
father 

Mar. (IV ailing) Oh, I was sure that had 
made the difference in you ! But you won't do that, 
will you? 

Fel. Do what? 

Mar. Destroy his contract to fight next week 
for you. 

Fel. I don't know what to do. But you couldn't 
expect me to risk all my future marrying into the 
family of a matador who had never done a good 
day's work in the ring? You see that, Marianella? 
The Spanish people put such skill above everything 
else in the world. He must succeed ! For his own 
sake, and mine, and yours, Marianella ! 

Mar. But you must not tear up his contract at 
the beginning of the season. He might not get 
another engagement in Spain the whole year ! And 
the season in France is so short ! Oh, what can we 
do, what can we do, Felipe? 

Fel. There's South America and Mexico. 

Mar. How Mother and Father would hate that. 
They did it once. It was horrible ! 

Fel. (He has been thinking) No, he couldn't 
do that. 

Mar. Do what? 

Fel. Go back to the railroad? 

Mar. It would break his heart. What, after 
being a real matador? Why, he wouldn't consent 
to be even a picador. And he's not active enough 
to be a banderillero. Besides, would that help us? 
You and me? It seems too awful to be true! 

Fel. You are right, Marianella. What can we 
do? 

Mar. But you do love me? 

Fel. (Drawing her to him) You know I do, 
Marianella. Only I don't know what to do. 

Mar. Felipe! (They stand gazing into each 



12 BOMBITO 

other's eyes when Enrique saunters into sight. The 
lovers move apart.) 

Enr. (Coming down into the room) You're a 
graceful banderillero at that game, Senor Felipe y 
Benlieure. Great sport, eh? 

Fel. Aw, hold your tongue. 

Enr. After this one remark. It's easier to jab 
something into the back of a man than through the 
little bone circle in the neck of a plunging bull. 

(Bombito and Isabella appear at doorway. As 
they come down Felipe takes up his hat.) 

Fel. Has he given the thrust? 

Bomb. Not yet. 

Fel. Then I shall go to see him do it. 

Mar. Hasta la vista. 

Fel. (Meaningly to her) Que sea muy pronto ! 
Bombito, good luck this time ! Good luck for both 
of us. 

(The other characters, except Enrique, acknowl- 
edge his departure.) 

Isab. But, my dear, why won't you stay and 
watch Villafeliche? 

Bomb. What's the use, anyway? 

Isab. Can't you do it his way ? 

Bomb. You know I can't. That's the way to do 
in your twenties. I'm beyond that. We older men 
have to drop into the other school entirely. 

Mar. But you know, something must be done. 
I'm not so young as I once was. I ought to be 
getting married soon. But where is my dowry to 
come from? 

Bomb. Oh, I don't know. I think of that, too ! 

Isab. Don't bother your father with that now, 
Marianella. 



BOMBITO 13 

Mar. Well, we'll have to face it some time, I 
suppose. 

Bomb. Yes ; but not now, not now ! 

Isab. (Near door) The music's stopped. 

Bomb. Yes, you heard this is a tame beast. It 
will be over soon. That means a fierce one will be 
sent in next. 

Mar. (Snatching up a mantilla) I'm going to 
see Villafeliche get this one. (She exits quickly.) 

Bomb. Just my luck, I always get a fierce one. 
That's the kind I always get. No luck at all ! 

Ei^r. Yet it might be worse. You have to face 
a fierce bull only every once in a while. Suppose 
you had to face a fierce wife all the time. Oh, 
Santa Maria Purissima! 

Bomb. You're right, old fellow. What would I 
do without Isabellita? 

Isab. The burst of music ! 

Bomb. He's done it ! That soon ! He knows 
how ! He has the luck. 

Enr. The next will be a wild one. You're right. 
I must go to see if I can get a horse with four good 
legs under him. A blind one, if I can. So he won't 
know what's going to strike him. It's a great thing 
not to see the thing that's going to knock you out. 
(He hitches up his trousers, picks up his hat, and 
exits. ) 

(Bombito and Isabella stare at each other mood- 
ily for a few seconds. Finally she shrugs her 
shoulders, turns up her hands, and moves to a 
seat by the table.) 

Bomb. (Beginning very quietly) I have a new 
plan of attack for this bull. 

Isab. (Not interested, she heard such things be- 
fore) Yes. (Pause.) 

Bomb. I know it's hard to keep interested in me. 



i 4 BOMBITO 

Isab. Oh, it's not that. It's just hard luck. 

Bomb. Partly. Not entirely. But — you don't 
mind if I talk, do you? 

Isab. No ; not if it relieves your mind. 

Bomb. This is the next to the last bull. You 
know what that means. The people are growing 
tired and restless. This animal must not be played 
as long as early ones. This one must be gone 
through with as quickly as I can. They want the 
big thrill of the last fight. (Pause.) 

Isab. Well, what of it? 

Bomb. I can't do what I should like to do. 

Isab. What's that? 

Bomb. Take my time. Get him just as I want 
him. Not to hurry. To take the time. I wanted 
to use all the science I have on this one. But it's 
better not to. I'd only lose again. And now that's 
too costly. 

Isab. What do you mean? 

Bomb. Well, you 

Isab. What about me? What do you mean? 

Bomb. Oh, I am not blaming you. You have 
just about reached the end, I know. I can see it, 
even though you don't admit it to yourself. I don't 
reproach you, but you won't stick to me much 
longer. 

Isab. (Starting up) Why, what do you mean 
by such things? 

Bomb. We weren't so bad off when I was a 
railroad switchman, but bull fighting hasn't brought 
all the advance we expected. 

Isab. (Feebly) Oh, we get along. 

Bomb. Yes, so far. But you know what Felipe 
threatened to do this afternoon. Let that happen 
just once, and I'm all done for. 

Isab. It must not happen. 

Bomb. That's not the worst. 

Isab. What else now? (Bombito jerks his 



BOMBITO 15 

thumb toward the arena.) You mean Marianella? 
(He nods.) Then you've seen it? I hoped there 
wasn't any clanger. I thought I was overafraid. 
But if you saw it, too 

Bomb. Felipe is after her. 

Isab. She's wildly in love with him. But will he 
many her? 

Bomb. No, not yet. Certainly not if he tears up 
my contract. He couldn't marry a girl whose fa- 
ther fails in the ring. Don't you see the danger ? 

Isab. What can be done? For her? For you? 
For all of us? 

Bomb. Perhaps you'd better not know. 

Isab. I must, I must ! 

Bomb. It really concerns me alone. (He starts 
tozvard the table to get his sword.) 

Isab. You must tell me ! We've never had any 
secrets from each other. 

Bomb. Good-bye, Isabellita. 

Isab. Good-bye? Why, what do you mean? 

Bomb. Just that. 

Isab. I don't understand. You must explain to 
me. Why are you so excited? You are reck- 
less 

Bomb. (Breaking out) That is it. Finally I am 
reckless. I'll show them all that even though I am 
not so young as the others, I have the same spirit in 
me as they have. 

Isab. What can you mean by such speeches? 

Bomb. The money of last week's work and to- 
day's is in the bank. With our other savings it 
will make a little dowry for Marianella. Marry 
her to Felipe. I won't disgrace her. That will fix 
you both. (Pause.) 

Isab. You mean you are going to (She 

sJi udders.) 

Bomb. I am at the end of my rope. I must cut 



16 BOMBITO 

it or strangle. And now is the only chance I shall 
ever have. 

Isab. You shall tell me ! 

Bomb. (Forcing himself to quietness) As soon 
as I have played this wild one just as much as the 
crowd will stand to get him into position. I shall 
play for the bull only ; — center, front of Presi- 
dente's box, along the barrier, makes no difference 
to me. 

Isab. I understand. Go on. 

Bomb. (Rising) I shall stand in close. 

Isab. (In a low voice) At last! After all 
these years. 

Bomb. I shall hold my sword tighter than ever 
before. I may even pull his horns. But his front 
feet must be even ! 

(This deliberate plan inspires confidence in Isa- 
bella.) 

Isab. That's splendid ! 

Bomb. Then when he lunges at me I shall take 
slow, careful aim, and as I strike I shall shut my 
eyes tight ! 

Isab. (Springing up) No! You do not mean 
that! 

Bomb. Tight closed ! 

Isab. But if you strike a bone how will the 
sword fly from your hand ? 

Bomb. I shall not let go. The sword will not 
be jerked away from me. 

Isab. If you do not pierce the spot you must 
throw yourself down on the ground. 

Bomb. I am determined to keep my feet. 

Isab. But if you roll on the ground the bull will 
not gore you. You will be safe. 

Bomb. I shall meet the bull in his attack. 

Isab. No, no! 



BOMBITO 17 

Bomb. Yes. 

Isab. NO ! 

Bomb. This is my plan ! 

Isab. I won't allow it ! I'll tell Marianella ! I'll 
warn Enrique ! 

Bomb. Would you have me disgraced? If I fail 
now, there are only long years of disappointment, 
bitterness, poverty before us. And Marianella? I 
shall be disgraced. Felipe will never marry her 
unless I retrieve myself. 

Isab. But you, my husband ! 

Bomb. An honorable death in the ring ! But I 
may come through all right. 

Isab. You must ! You will, if you only give up 
this insane idea ! Promise me you will use your 
eyes ! 

Bomb. I shall shut them tight! 

Isab. I sha'n't allow you. This can't go on. 
I'll stop the fight ! I'll appeal to the Presidente ! 
He'll debar you for today ! 

Bomb. {Near the door) Can you say such 
things? You, a matador's wife? You have more 
courage than that. Hush ! Here's Marianella ! 
{He picks up his red cloth from a corner and moves 
to his szvords on the table as Marianella appears.) 

Mar. Almost ready, Father? 

Bomb. Certainly, my girl. Is it time already? 

Mar. Yes, the banderillero was just ready to go 
in. He wasn't in any hurry, I can tell you. This fel- 
low is a beauty. He tumbled Enrique over the fence 
right off. It was funny to see his long yellow legs 
waving in the air. That kind of start seems to put 
a damper on all the men. They seem listless and 
dispirited. It's up to you', Father, to tone things up 
a bit. 

Bomb. Oh, I'll do that all right this time. Go 
take another peep for me, and as soon as old Angel 



18 BOMBITO 

Mariano Pepe Pina, as he calls himself, plants his 
second pair of banderillas, run in to tell me. 

Mar. Yes, I'll do that. (She exits.) 

Isab. You intend to do this thing? 

Bomb. More now than ever. Don't you see how 
happy she is ? Dare I save myself at her risk ! 
Good-bye, wife. (He takes her in his arms.) 

Isab. Good-bye, my husband ! After all these 
years ! 

Bomb. You've made me supremely happy. 

Isab. You must come through ! 

Bomb. I intend to. 

Isab. (Suddenly breaking out) Oh, no, no! I 
can't let you go like this ! This must not be ! Give 
up your reckless idea ! You must keep your eyes 
open, do you hear, wide open ! 

(Bombito has moved away. He silences her with 
a gesture as Marianella appears. ) 

Mar. Mother's right, Father, you must keep 
your eyes wide open, for this bull is livelier than 
any you've met in many a day. 

Isab. (Excitedly) You see, wide open ! 

Bomb. Until I see you again, Isabellita ! Here, 
Marianella, give your old father a kiss for good 
luck. (He holds her in his arms, then seizing the 
red cloth, his long straight sword, and placing his 
three-cornered hat upon his head he springs up the 
steps. At the door he turns and salutes.) To the 
best women in the world ! 

(Isabella stretches out her arms appealingly, 
Marianella throws him a kiss. He dis- 
appears. ) 

Mar I'll have to go have a look at him this 
time, Mother. 
Isab. Yes, go — go! 



BOMBITO 19 

(Marianella exits. Isabella stands tense. She 
is trying to force herself to follow, but she can 
drag herself to the doorway only. There she 
stands for an instant. Marianella runs back. 
From the top step she calls out.) 

Mar. Oh, Mother ! What has come over Fa- 
ther? He's so different! He's so cool! He's al- 
most reckless. Everybody has noticed it. All the 
men are hanging over the barrier watching. It's 
great ! Quite like the big rings at Cordova and 
Sevilla. You ought to come look. 

Isab. Is the music playing still? 

Mar. Yes. Can't you hear it? (Isabella 
nods.) There, it's stopped. He has the bull in 
position ! I must go see ! 

Isab. (Hoarsely) Yes, go — go! (Marianella 
hurries off. There is a tense, agonising pause. A 
very long silence ensues. Isabella's face and body 
display all the agonies she experiences as she listens. 
Hearing something off stage. In a low tone.) 
What's that? I cannot hear the music! I must 
hear the music! It's a roar! What does it mean? 
What can it mean ? The music ! 

Mar. (Beginning off stage) Oh, Mother, 
Mother! Wonderful! He did it! At the first 
stroke ! Straight in the neck ! A marvelous stroke ! 
A masterpiece ! 

Isab. (Seising her before she finishes) Your 
father ! Your father ! Is he alive ? Is he alive ? 
Tell me, tell me ! (As Marianella stops to listen.) 
Is your father alive? 

Mar. Why, of course, he's alive! And at the 
last a real matador ! 

(Outside a confused rumble has grown to a mighty 
wave of sound, with music bursting through 
at times. The shouts of voices crowd along 



20 • BOMBITO 

the passageway until with a triumphant burst 
Bombito is pushed into view upon the steps. 
Close behind him is Enrique.) 

Bomb. Isabellita! I did it! (He rushes down 
to embrace her. A cheer goes up from the people 
outside. Felipe elbows his way through.) 

Fel. I knew he could ! Didn't I engage him for 
next Sunday? Tell everybody. At my arena next 
week. He'll do it again. Of course he'll do it 
again ! Congratulations all around. Right in mid- 
air when he reached his heart ! Right in mid-air, 
Sehora Isabella ! You saw it, Senorita Maria ! 
Here's your contract. (He puts it on the table.) 
I must go see the newspapers about next Sunday. 
I'm a made man ! Come along, Senorita Maria. 

(The crowd has melted away. Felipe bustles out. 
Marianella follows him.) 

Isab. Oh, I'm so happy, my husband. 

Enr. (Showing a long rip in his yellow trousers) 
That's the way in love and life. The bull that made 
your fortune tore the best pair of breeches I have! 
(Enrique exits ruefully.) 

Isab. (Radiantly) Oh, I went through agonies 
for you ! You see, I was right to make you keep 
your eyes open. What did you see? 

Bomb. (Quietly) I saw death plainly. For my 
eyes were shut tight. (Isabella totters and is 
about to fall. He holds her in his arms. Ten- 
derly.) But, dear, now that I have faced death with 
my eyes closed, I can face it always in the future 
with my eyes open ! 

CURTAIN 



ON THE HIRING LINE 

Comedy in 3 acts, by Harvey O'Higgins and Harriet 
Ford. 5 males, 4 females. Interior throughout. Costumes, 
modern. Plays 2^ hours. 

Sherman Fessenden, unable to induce servants to remain for 
any reasonable length of time at his home, hits upon the novel 
expedient of engaging detectives to serve as domestics. 

His second wife, an actress, weary of the country and longing 
lor Broadway, has succeeded in discouraging every other cook and 
hutler against remaining long at the house, believing that by so 
doing she will win her hushand to her theory that country life 
is dead. So she is deeply disappointed when she finds she cannot 
discourage the new servants. 

The sleuths, believing they had been called to report on the 
actions of those living with the Fessendens, proceeded to warn 
Mr. Fessenden that his wife has been receiving love-notes from 
Steve Mark, an actor friend, and that his daughter has been 
planning to elope with a thief. 

One sleuth causes an uproar in the house, making a mess ol 
the situations he has witnessed. Mr. Fessenden, however, has 
learned a lesson and is quite willing to leave the servant problem 
to his wife thereafter. (Royalty, twenty-five dollars.) 

Price, 75 Cents. 



A FULL HOUSE 

A farcical comedy in 3 acts. By Fred Jackson. 7 males, 
7 females. One interior scene. Modern costumes. Time, 
2% hours. 

Imagine a reckless and wealthy youth who writes ardent 
love letters to a designing chorus girl, an attorney brother- 
in-law who steals the letters and then gets his hand-bag mixed 
Tip with the grip of a burglar who has just stolen a valuable 
necklace from the mother of the indiscreet youth, and the 
efforts of the crook to recover his plunder, as incidents in 
the story of a play in which the swiftness of the action 
never halts for an instant. Not only are the situations scream- 
ingly funny but the lines themselves hold a fund of humor at 
all times. This newest and cleverest of all farces was written 
hy Fred Jackson, the well-known short-story writer, and is 
hacked up by the prestige of an impressive New York success 
and the promise of unlimited fun presented in the most attrac- 
tive form. A cleaner, cleverer farce has not been seen for many 
a long day. "A Full House" is a house full of laughs. (Royalty, 
twenty-five dollars.) Price, 75 Cents. 

aa— ^— — ■ ■ mi ■imiw— m— i in— ■— a»^— 

SAMUEL FRENCH, 25 West 45tli Street, New York City 
Our New Catalogue Will Be Sent on Receipt of Five Cent*. 



NOTHING"~EUT THE TRUTH 

Comedy in 3 acts. By James Montgomery. 5 males, 
6 females. Modern costumes. 2 interiors. Plays 2% hours. 

Is it possible to tell the absolute truth — even for twenty-four 
hours? It is — at least Bob Bennett, the hero of "Nothing but 
the Truth," accomplished the feat. The bet he made with his 
partners, his friends, and his fiancee — these are the incidents in 
William Collier's tremendous comedy hit. "Nothing but the 
Truth" can be whole-heartedly recommended as one of the most 
sprightly, amusing and popular comedies of which this country 
can boast. (Royalty, twenty-five dollars.) Price, 75 Cents, 

SEVENTEEN 

A comedy of youth, in 4 acts. By Booth Tarkington. 
8 males, 6 females. 1 exterior, 2 interior scenes. Costumes, 
modern. Plays 2% hours. 

It is the tragedy of William Sylvanus Baxter that he has ceased 
to be sixteen and is not yet eighteen. Baby, child, boy, youth 
and grown-up are definite phenomena. The world knows them and 
has learned to put up with them. Seventeen is not an age, it is a 
disease. In its turbulent bosom the leavings of a boy are at war 
with the beginnings of a man. 

In his heart, William Sylvanus Baxter knows all the tortures 
and delights of love ; he is capable of any of the heroisms of his 
heroic sex. But he is still sent on the most humiliating errands 
by his mother, and depends upon his father for the last nickel 
of spending money. 

Silly Bill fell in love with Lolo, the Baby-Talk Lady, a vapid 
if amiable little flirt. To woo her in a manner worthy of himself 
(and incidentally of her) he stole his father's evening clothes. 
When his wooings became a nuisance to the neighborhood, his 
mother stole the clothes back, and had them altered to fit the 
middle-aged form of her husband, thereby keeping William at 
home in the evening. 

But when it came to the Baby-Talk Lady's good-bye dance, not 
to be present was unendurable. How William Sylvanus again 
got the dress suit, and how as he was wearing it at the party the 
negro servant, Genesis, disclosed the fact that the proud garment 
was in reality his father's, are some of the elements in this 
charming comedy of youth. 

"Seventeen" is a story of youth, love and summer time. It is 
a work of exquisite human sympathy and delicious humor. Pro- 
duced by Stuart Walker at the Booth Theatre, New York, it en- 
joyed a run of four years in New York and on the road. Strongly 
recommended for High School production. (Royalty, twenty-five 
dollars.) Price, 75 Cents. 

i n 
SAMUEL FRENCH, 25 West 45th Street, New York City 
Our New Catalogue Will Be Sent on Receipt of Five Cent*. 



DADDY LONG-LEGS 

A charming comedy in 4 acts. By Jean Webster. The 
full cast calls for 6 males, 7 females and 6 orphans, but 
the play, by the easy doubling of some of the characters, 
may be played by 4 males, 4 females and 3 orphans. 
The orphans appear only in the first act and may be played 
by small girls of any age. Four easy interior scenes. 
Costumes modern. Plays 2^ hours. 

Many readers of current fiction will recall Jean Webster's 
"Daddy Long-Legs." Miss Webster dramatized her story and it 
■was presented at the Gaiety Theatre in New York, under Henry 
Miller's direction, with Ruth Chatterton in the principal role. 
"Daddy Long-Legs" tells the story of Judy, a pretty little 
drudge in a bleak New England orphanage. One day, a visiting 
trustee becomes interested in Judy and decides to give her a 
chance. She does not know the rame of her benefactor, but 
simply calls him Daddy Long-Legs, and writes him letters brim- 
ming over with fun and affection. From the Foundling's Home 
she goes to a fashionable college for girls and there develops the 
romance that constitutes much of the play's charm. The New 
York Times reviewer, on tko morning after the Broadway pro- 
duction, wrote the following: "If you will take your pencil and 
write down, one below the other, the words delightful, charming, 
sweet, beautiful and entertaining, and then draw a line and add 
them up, the answer will be 'Daddy Long-Legs.' To that result 
you might even add brilliant, pathetic and humorous, %ut the 
answer even then would be just what it was before — the play 
which Miss Jean Webster has made from he-r book, 'Daddy Long- 
Legs,' and which was presented at the Gaiety last night. To 
attempt to describe the simplicity and beauty of 'Daddy Long- 
Legs' would be like attempting to describe the first breath of 
Spring after an exceedingly tiresome and hard Winter." "Daddy 
Long-Legs" enjoyed a two-years' run in New York, and was then 
toured for over three years. Tt is now publisned in play form* for 
the first time. (Royalty, twenty-five dollars.) Price, 75 Cents, 

THE FAMOUS MRS. FAIR 

A comedy in 4 acts. By James Forbes. 3 males, 10 
females. 2 interiors. Modern costumes. F}ays a full 
evening. 

An absorbing play of modern American family life. "The 
Famous Mrs. Fair" is concerned with a strenuous lady who 
returns from overseas to lecture, and consequently neglects her 
daughter, who is just saved in time from disaster. Acted with 
great success by Blanche Bates and Henry Miller. (Royalty, 
twenty-five dollars.) Price, 75 Cents. 

SAMUEL FRENCH, 25 West 45th Street, New York City 
Our New Catalogue Will Be Sent on Receipt of Fire Cent*. 



MRS. PARTRIDGE PRESENTS 

Comedy in 3 acta. By Mary Kennedy and Kuth Haw 
thorne. 6 males, 6 females. Modern costumes. 2 interiors 
Plays 2Ya hours. 

The characters, scenes and situations are thoroughly up-to 
date in this altogether delightful American comedy. The heroine 
SB a woman of tremendous energy, who manages a business — ap 
she manages everything — with great success, and at home pre 
sides over the destinies of a growing son and daughter. Her 
struggle to give the children the opportunities she herself had 
missed, and the children's ultimate revolt against her well-meant 
management — that is the basis of the plot. The son who is cast 
for the part of artist and the daughter who is to go on the stage 
offer numerous opportunities for the development of the comic 
possibilities in the theme. 

The play is one of the most delightful, yet thought-provoking 
American comedies of recent years, and is warmly recommended 
to all amateur groups. (Royalty on application.) Price, 75 Cents 



IN THE NEXT ROOM 

Melodrama in 3 acts. By Eleanor Eobson and Harriet 
Ford. 8 males, 3 females. 2 interiors. Modern costumes 
Plays 2^4 hours. 

"Philip Yantine has bought a rare copy of an original Boult 
cabinet and ordered it shipped to his New York home from Paris 
When it arrives it is found to be the original itself, the pos^ 
session of which is desired by many strange people. Before tht 
mystery concerned with the cabinet's shipment can be cleared 
up, two persons meet mysterious death fooling with it and the 
happiness of many otherwise happy actors is threatened" (Burns 
Mantle). A first-rate mystery play, comprising all the elements 
of suspense, curiosity, comedy and drama. "In the Next Room' 
is quite easy to stage. It can be unreservedly recommended to 
high schools and colleges. (Royalty, twenty-five dollars.' 

Price, 76 Cents 



SAMTJEIi FRENCH, 25 West 45th Street, New York City 
Our New Catalogue Will Be gent •» BsmIe* «f Five Ob a 



LIBRAE OF CONGRESS 




■■■■"to 724 2 

MRS. WIGGS wr THE 
CABBAGE PATCH 



Dramatization in 3 acts, by Anne Crawford Flexner froBf 
the novel by Alice Hegan Kiee. 15 males, 11 females. 

1 interior, 1 exterior. Costumes modern and rustic. Plays 

a full evening. 

A capital dramatization of the ever-beloved Mrs. Wiggs and 
her friends, people who have entered the hearts and minds of a 
nation. Mrs. Schultz and Lovey Mary, the pessimistic Miss Hazy 
and the others need no new introduction. Here is characteriza- 
tion, humor, pathos, and what is best and most appealing in 
modern American life. The amateur acting rights are reserved 
for the present in all cities and towns where there are stock 
companies. Royalty will be quoted on application for those cities 
and towns where it may be presented by amateurs. 

Price, 75 Cento. 

THE FOUR-FLUSHER 

Comedy in 3 acts. By Caesar Dunn. 8 males, 5 females. 

2 interiors. Modern costumes. Plays 2*4 hours. 

A comedy of hustling American youth, "The Four-Plusher' ' is 
one of those clean and bright plays which reveal the most appeal- 
ing characteristics of our native types. Here is an amusing story 
of a young shoe clerk who through cleverness, personality, and 
plenty of wholesome faith in himself, becomes a millionaire. The 
play is best described as "breezy." It is full of human touches, 
and develops a most interesting story. It may be whole-heartedly 
recommended to high schools. (Royalty, twenty-five dollars.) 

Price, 75 Cents. 

PALS FIRST 

Comedy in a prologue and 3 acts. By Lee Wilson Dodd. 
8 males, 3 females. 1 interior, 1 exterior. Modern cos- 
tumes. Plays 2y 2 hours. 

Based on the successful novel of the same name by F. P. 
Elliott, "Pals First" is a decidedly picturesque mystery play. 
Danny and the Dominie, a pair of tramps, enter a mansion and 
persuade the servants and friends that they belong there. They 
are not altogether wrong, though it requires the intervention of 
a judge, two detectives, a villain and an attractive girl to un- 
tangle the complications. A most ingenious play, well adapted 
to performance by high schools and colleges. (Royalty, twenty- 
five dollars.) Price, 75 Cents. 

Q, SAMUEL FRENCH, 25 West 45th Street, New York City 
Our New Catalogue Will Be Sent on Receipt of Five Cent*. 



